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  电子邮件： 我想你可能会对这资料感兴趣，资料位于 http://www.worldcat.org/oclc/155258341 题名： [Interview with Trevor Nunn : raw footage] 著者： Trevor Nunn; Jeff Dupre; Michael Kantor; Terry Hopkins 出版商： New York , 2003. OCLC:155258341

  
  

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[Interview with Trevor Nunn : raw footage]

著者：	Trevor Nunn; Jeff Dupre; Michael Kantor; Terry Hopkins
出版商：	New York , 2003.
版本/格式：	VHS视频 : VHS录像带  视觉资料 : 英语
提要：	Raw interview footage used for the documentary Broadway, the American musical. Theatre and film director and former director of the Royal Shakespeare Company Trevor Nunn discusses how he worked with composer Andrew Lloyd Webber to develop the stage show Cats. Starting with ten poems by T. S. Eliot, which Lloyd Webber had set to music, Nunn and Lloyd Webber envisioned the cat characters and how they functioned within their tribe, and then called in set designer John Napier who created an environment for them set in a trash dump. Nunn speaks about how the story took on an added dimension when Valerie Eliot, T. S. Eliot's widow, presented Lloyd Webber with the poem Grizabella the glamour cat, which introduced the idea of mortality, grief and desperation to the lighthearted, optimistic piece. Nunn speaks about the collaboration between Lloyd Webber and Cats' producer Cameron Mackintosh; Mackintosh's skills at marketing his shows; the presence of spectacle in the theater, and in this show in particular; psychological complexity in the work of Rodgers & Hammerstein, Cole Porter and in George Gershwin's Porgy and Bess; Cats' Broadway success, which he attributes to its ability to reach "across barriers of every kind," including racial and ethnic ones; what taking a show to Broadway means to him; theater architecture and its impact on creative innovation in the theater; the musical theater collaboration of Richard Rodgers and Oscar Hammerstein, who created a "paradigm" for the American musical; how Cats, which conveys its story via dance, compares with "book" musicals produced by Rodgers & Hammerstein; the "visceral" experience of Cats, in which the action of the show is transfered into the audience, a theatrical strategy which Lloyd Webber and his collaborators developed further in their musical Starlight Express; the musical Les miserables, which connects back to the mainstream book musical. Interview ends on videocassette one and resumes on tape two. Discussion continues with the issue of justice addressed in the show Les miserables; the musical as an American art form; the difficulty of characterizing the musical, and the wit and contemporaneity of the musical of the 1920s and '30s, emblematic in the work of Cole Porter; Nunn's view that composer Stephen Sondheim is a musical heir of Porter; the revolutionary aspect of storytelling introduced in the musicals of Rodgers & Hammerstein; the impact of live musical theater on the audience, and its tendency to "unify" the audience via a shared reaction, as exemplified in the musical Oklahoma!; Lloyd Webber as the most "prolific and rich melodist" of his age, and his creative output in such shows as Starlight Express, Phantom of the opera, Aspects of love and Sunset Boulevard; more on Lloyd Webber's theatrical success; Cole Porters' musical Anything goes, a satirical comedy that reflected society during the mid-Depression; the current state of the musical theater, and how he sees its future; Broadway's conformity to established notions of the musical; and his view that Broadway must encourage creative diversity, as seen in shows such as Rent and Hair.  再读一些...
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